Walter Biscardi walks through PPro from an FCP perspective

[Aindreas Gallagher]

if that’s an example of the bad, well that’s not too bad, with that and the rather crazy horsepower – besides – I can’t take in any AE comps at all at the minute..

http://www.ogallchoir.net
promo producer/editor.grading/motion graphics

[John-michael Seng-wheeler]

I’m sure you will quickly find things that drive you up the wall, coming from FCP. But the same would be true if you were going the other way as well.

I chose CS5 over FCP because of the editing horsepower. You’ve no idea how fast things can be on 64bit until you try it… It was way faster then I was expecting. You should have seen the look on my face when I made a SD MPEG-2 again for the first time since upgrading.

[Walter Biscardi]

Thanks for noticing the series! So far I’m finding my FCP workflow translates very nicely to PPro. Adobe even includes Keyboard Shortcuts from Avid Media Composer and Final Cut Pro 7 to make it even easier for folks to transition.

AJA Video Systems released the new CS 5.5 Plug Ins and now we have good playback to the external monitors so that’s great.

So far so good with PPro. Tomorrow we’ll be installing Avid MC as well for more testing and I’m planning to post some videos on that testing too.

In the meantime, here’s the links to all three parts so far of our “Transitioning” series.

Part 1: Transition an FCP Project to Adobe Premiere Pro
https://vimeo.com/25506555

Part 2: FCP Workflow transition to Adobe Premiere Pro
https://vimeo.com/25656933

Part 3: AJA Kona Board and Adobe Premiere Pro
https://vimeo.com/25656933

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

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[Chris Conlee]

Really looking forward to your look at Avid. It’s a different beast, and will not have as many direct similarities. I don’t know your level of expertise with Avid, but if you have specific questions about how to accomplish certain things, by all means, give me a call or email me:

Chris Conlee
818-694-2112
conleec (at) yahoo (dot) com

I’d be happy to help.

[John-michael Seng-wheeler]

Yeah, I’m not sure what you’d do if a client asks for ProRes, though I think that if you have FCP 7 on the same system it can do it. That of course is a non option for windows users.

however, DNxHD works just fine. You have to download the codecs from Avid: https://avid.custkb.com/avid/app/selfservice/search.jsp?DocId=372311
and then you can render DNxHD files in a quicktime wrapper.

[Walter Biscardi]

Looks like I posted Part 2 twice. Sorry about that. Here’s the correct Part 3

https://vimeo.com/25741693

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media

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Posts by walterbiscardi

[Jeff Greenberg]

[John-Michael Seng-Wheeler] “3) When importing files from File biased cameras, clips which were split up because of the 4GB file size limit are duplicated. For example, If have two P2 clips named 001YG and 0021h which are part of the same clip, Premiere will give you two clips named 001YG which contain the footage from both clips. I have to go through and delete all the duplicates or my project will be a little hard to use…”

If you go through the media browser (not file>Import) this problem doesn’t exist.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
New- my book (with Richard Harrington and Robbie Carman)- An Editor’s Guide to Adobe Premiere Pro
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[John-michael Seng-wheeler]

Well, there you go!

I’ve been using PP since before the Media Browser was added, so I never bothered to try importing footage that way.

[Dennis Radeke]

[John-Michael Seng-Wheeler] ”
Chris is right, you need to unlearn Transcoding.”

So very true. This is one of the biggest things that we (Adobe) have to communicate to others. If you can edit natively with full real-time, the need for transcoding is less.

That being said, there are use cases where a DI workflow is good to have. We can use AME to batch things to any codec you need.

Dennis

[Dennis Radeke]

[Chris Simpson] ” What’s the multicam like in PP and AvidMC? All I can find on PP appears to max out at 4angles. Sports/performance I tend to use at least 8 and as many as 12.”

Our multicam is very good except for the fact that we do need to increase our number of angles from 4. This is something that we’re looking right now.

On the positive side, ANYTHING can be a camera including a sequence. Also, there is no need to resolve all cameras to a single type of codec so you could for example mix a P2 clip with an XDCAM clip and not have any problems.

Dennis – Adobe